Happy Closing Night Everyone!

Congratulations on how far we have made it!  You all should be so proud of yourselves! Here are a few reminders for tonight:

-Tonight's final cast/crew party will be at Maggie Conroy's house, the address is...
     3217 SW Luradel St. Portland, OR

-The party is a POTLUCK.  Please help provide if you can! And don't forget to thank the Conroys for hosting it!

-FIGHT CALL is at 6pm tonight (instead of 6:10)

-Stay healthy

-STRIKE is at 10am tomorrow morning

-Enjoy our last performance of Antigone and make it the best one yet!


Thanks!
-OB

Notes from November 3rd

**Indicates repeated notes that are still not being addressed.

**All: Always and Always more volume and engage your mask arms out and to the sides

**All be aware of you new masks--where are the eyes on your new mask and when is it engaged up or down or to the sides--work with partners for this

**Run lifts with Kendall and Bryce to make them smooth, one solid move and safe
**For Bryce lift, pull him up on pomp and honors and Bryce drag our your line for movement 

**Don't adjust masks and costumes on stage--if you must make it a choreographed, deliberate movement rather than actors adjusting and fixing onstage

**All pinning masks straps to your hair to help keep it upright
Gwyneth-hands on hips reads really well as Nurse for both Masks..use this!

**Guards--Arms--Triangle formation--slides into position

**Ismene--more back mask when you collapse into your chorus--show us the back mask while standing then fall into them

**Creon--Volume, Posture, Facial expression and energy, don't look down, use arms out to sides!!

Lucy-pin your mask to help 

Maggie and Quin--ARMS!!

Antigone allow yourself to touch Haemon's mask when embracing you did it on Monday and it was beautiful

Haemon-adjust your mask lower on head

**Amelia/Bryce/Kendall--watch volume dropping and where you place your face when delivering lines

Haemon/Antigone--watch your volume dropping too low in intimate moments together

**All--lift Back mask directly to audience on Blinding eye motion, bigger & more deliberate blinding

**Gwyneth & Lucy-use your arms--larger and broader on slow motion exit

**"Have you tortured perhaps?" Bigger recoil away from Creon Haemon's chorus

**Creon--learn the "shoot...wave...wind" line so it can be done in one breath and full tempo to match chorus movement

Nurse & Antigone-try some of comforting scene with Antigone's back mask

Sofia S/Zoe/Julia/Amelia/Lucy-gorgeous storytelling throughout tonight

All--engage more with the story and support it as the Chorus 

**All--must get "YES in my father's own voice" in our bodies and voices together as one

Eurydice- This was amazing, keep doing it! (Beautiful work Eurydice--go even further with trying to connect to Haemon & Creon, consider trying to find moments to speak and no one hears you (the role of the Silent Woman--why no one will hear her or listen to her)

**Haemon- When dying--use your right arm to balance your face/mask on to help :)

Lovely moment-Ismene on reentrance monologue-go further with that


Guard--salutes, arms out, pointing all help with engaging back mask--do more

All--page 37-38 pick up the tempo between lines, drive the story

Guards--really be gleeful and excited for the party and bonus so we have more of a comedic payoff with the line about nix on the wives

Guards--need to engage back mask so much more as they are very dark in the lights and therefore vanish quickly

Guards-much more precise exit past Diego, lines and angles like top of show

Mattie-awesome transformation of Guard into chorus character

All---remember to keep energy in your back mask and movements through fingers and neck rotations

Antigone-slow drags of feet on floor to express frustration-yes keep it!!

All-keep Sound Ques going throughout Creon/Antigone scene-breaths, scratches hisses

Amelia & Bryce walk with purpose to Juror's Box on page 48

YES/NO whispers---so haunting, keep it up!

CHORUS LEADERS: run Yes, in my father's own voice and the "Shoot--wave---wind" section

Bryce and Kendall: don't adjust costumes when you stand up as brothers

Page 54--pick up tempo of urgency in storytelling Creon

All guards join Amelia/Grace/Diego on foot stomps in Story sequence to keep it Loud and Strong--no room for timid foot stomps. During the army breaking into Thebes section

ALL--pick up tempo and urgency, drive towards the end

ALL: remove any jewelry, bracelets, nail polish not approved by costumes crew

Haemon/Creon: don't wait for Antigone's cries to finish before continuing fight, rather use them to motivate the anger and need for your confrontation

Guards--beautiful work in last scene offering letter and help

**Bigger and precise percussion on the entrance of Messenger--scare Antigone and the guards

**Remember someone is always watching you from the audience, so if you are onstage you are part of the story!!

Thanks, Clara

Notes from November 2nd

Beautiful work tonight and a huge thank you to all tech for the great work, focus, energy and the gorgeous results of your contributions are making one amazing show

All: Always and Always more volume and engage your mask arms out and to the sides

All be aware of you new masks--where are the eyes on your new mask and when is it engaged up or down or to the sides--work with partners for this

All--be very careful when you lay directly on your back mask

*Run lifts with Kendall and Bryce to make them smooth, one solid move and safe

All-interact more with each other's back masks and keep engaged onstage

Ismene's chorus on page 19 arms float out to sides rather than directly in front of you to engage back mask

Don't adjust masks and costumes on stage--if you must make it a choreographed, deliberate movement rather than actors adjusting and fixing onstage

Gwyneth as Jocasta--go even further with the voice--higher pitched, maybe an accent?

Gwyneth-quieter sobbing overall:)

Maggie-VOICE!! watch that volume and support it. Your very first line I couldn't hear at all and I was right next to you

All--trying pinning masks straps to your hair to help keep it upright

Antigone- use interesting sitting positions, legs out and arms out when listening to your nurse

Ismene--watch out for the noise your bracelet makes when offstage

Zoe (Antigone) please lift your "baby" arms up to put focus on the movement--ask me for clarification if needed

Antigone- consider when do you play into your vulnerability, when does it take you over, do you plan the entire conversation with Haemon, or do you change your tactics once you see him again?

Antigone-on lines about wearing Ismene's dress--all back mask to Haemon. I've asked for this before and the moment hasn't happened yet.

Haemon-try to touch Antigone more, reach for her hand, back mask to keep her tense and moving away

Ismene--why do you decided to come back and talk further about Polynieces--are you convincing yourself or Antigone?

Guards---use your arms!!!
Guards--watch your entrances--comic but careful and specific, you knocked Lucy over on your 1st entrance

Ismene--more back mask when you collapse into your chorus--show us the back mask while standing then fall into them

Creon--Volume, Posture, Facial expression and energy, don't look down, use arms out to sides!!

Grace/Grace/Diego/Bryce/Quin/Wolf--more arms out to sides and back mask awareness on top of page 37 Chorus interlude

Chorus--ARMS!!

Amelia/Bryce/Kendall--watch volume dropping and where you place your face when delivering lines

Guards--more arms out in triangle formations otherwise it looks too static and without purpose

Diego-tuck in shirt when acting as page, always double check your shirt

QUIET BACKSTAGE!

Creon- always focus on posture, kingly reactions, your presence onstage--when are you in power and when is your power questioned or attacked?

All--lift Back mask directly to audience on Blinding eye motion, bigger & more deliberate blinding

Gwyneth & Lucy-use your arms--larger and broader on slow motion exit

"Have you tortured perhaps?" Bigger recoil away from Creon Antigone's & Haemon's chorus

Yes to all the sounds, heart beats, and percussive movements---commit fully to it and make sure you painting the landscape of the scene and not drowning out the dialogue onstage

Creon--learn the "shoot...wave...wind" line so it can be done in one breath and full tempo to match chorus movement

Chorus--page 51-53 try repetitions of Yes or No whispered depending on how your character feels in the debate of Creon and Antigone

Antigone walk through the dead bodies rather than around them to join Creon back on top platform page 56-57

Antigone--dig more into the youth and surprise of hearing this other side of your brother's stories. Does Creon change you opinion, throw you off your path and goal or make you even stronger towards your goal. Are you more afraid of dying at the end of the scene or more prepared and confident in your approaching death

All--must get "YES in my father's own voice" in our bodies and voices together as one

Antigone--consider back mask posing on "The thing is catching" on the top platform above everyone

Beautiful work Eurydice--go even further with trying to connect to Haemon & Creon, consider trying to find moments to speak and no one hears you (the role of the Silent Woman--why no one will hear her or listen to her)

Guards--please be careful of Eurydice on your entrance---know that she is there and moving slowly so go around her

Mattie & Aiden--bigger arms on back mask 1st pose towards Antigone on "Was it you?"

No cell phones when you are offstage--stay focused on the show and story and committed to your fellow actors

Guards to help round out the emotions of your final scene --Mattie and Aiden why do you offer to help Antigone--what reaction does she pull out of you?
Elijah-why do you not offer anything, how do you feel about the letter writing?

Haemon- Die in one movement rather than several adjustments, use your right arm to balance your face/mask on to help :)

Creon's chorus--in your final line before the juror's box, move closer together and further upstage so you don't block the audience on those levels

Tech/Lucy/Gwyneth**Can we hide an extra chord to match Antigone's costume near the throne, so Lucy can grab that to use for the hanging pose of Antigone at end?

Thanks!! Clara

Notes from 10/27

It is becoming a lovely show!! Congrats all:) Keep committing and keep working. We have a long way to go but it is improving! 


All: find smoother/rounder dance poses in Prologue

All: bigger, more dynamic lean into watching Antigone/Haemon proposal

Nurse & Antigone keep some distance from each other once feet part is over

Gwyneth---hell's yes!! that was a fabulous Nurse tonight

Nurse-go even further and more contrast with the Jocasta voice and body work

Antigone page 20-keep distance from nurse during her story so we can see both of you

Lucy-can you kneel behind Nurse when join group rather than right next to her?

EVERYONE: Keep off angle of each other

Ismene: MORE VOLUME!! More power in your voice. Especially more volume page 24 speech

Ismene/Antigone--great sister relationship tonight, very lovely to watch the natural flow

Ismene/Antigone--both look out to exit #2 on line about Polynieces being well guarded on page 26 to help establish the location of the body

**Antigone--when you exit through #2---this is where you put dirt on hands for next entrance with guards

Page 26-Nurse and Antigone--go over this movement with me prior to rehearsal

Antigone/Haemon/Ismene/Creon-use your arms out to the sides to help enhance mask and costume rather that directly in front of you

Antigone--we need more back mask during Haemon scene--find that moment to give back mask and then Haemon connects with back mask

Haemon--posture!!!

Haemon's chorus--reach your arm out to exit #2 in back mask when Haemon exits on page 32

Antigone--come from BURYING him--must make that word clear. It is the first time we hear you say it--vital plot point

Ismene truly fall into your chorus-Ismene's chorus catch her on page 33 exit, grab for her and comfort her

Guards---awesome!! Like that every night! NOW GET OFF BOOK:)

Creon--watch your posture and shoulders

Creon--good instinct on shovel but please let people know you're throwing and make sure Props Crew is ok with you throwing it

Mattie--arms out to side in kneel pleading with Creon page 36

Chorus--BIGGER VOICES and purpose on interlude page 37-38

Haemon-learn page 37-38 movement

A's chorus: more drive in that final line on page 38Antigone is going to be able to be herself. Haunt us with that line

Guards: be careful with Antigone-precise and planned---PLEASE run that blocking

Creon and Guards: Keep space open never directly in line with Creon but scattered around him

Antigone play puzzled in first interaction with Creon page 43, don't know what he plans yet

Creon page 45 up and over the Chorus in terms of volume and power

CREON--Always more volume

Creon's chorus--figure out when turning back mask, what direction and how to do it together on page 51

Eurydice--use your hands when you stand on page 46, arms out

ALL: Sounds that worked: light scratching, breaths, moans, tones, heart beats!

Thanks!

Production Schedule Posted

Attention: All Cast and Crew Members -

To the right is the downloadable calendar for the remainder of our production process.  Please confirm your availability for each of the remaining times and dates with your Stage Manager ASAP, whether Cast or Crew.

Here are a few additional details:
1) There are no Paint or Light sessions listed...those are going to be informal and as time allows for completion.  Look here and the callboard for those opportunities.
2) Remember: Techs/Dresses/Strike are just as 'no conflicts accepted' as a Performance date.  Know your calls!
3) Please be flexible...Though we strive to avoid it in every way, we occasionally have to roll with unforeseen changes to the calendar.  We've been flexible with your schedules and needs...time to extend the same courtesy!
4) Take care of yourself and your needs!  While we are understandably less than flexible during the remainder of this process, and it is intensive, your school, family, and health needs must be addressed and cared for...don't shortchange any of it!  Be aware of scheduling and keep those lines of communication open!

j.

Notes from 10/26

Thank you for your focus, ensemble work and energy tonight. We made great strides tonight and we are starting to have the outline of a show!

Please read through notes & try to apply for tomorrow's run through. If you have questions about something feel free to come ask questions or email questions (clarahillier@yahoo.com). Remember to head straight down to the Costume Room at 3:15 tomorrow so we can start as quickly as possible!

NOTES:

All: Use each side of the audience, not the juror's box, to act towards---remember to throw voices & bodies up the top row

All: Make movements precise and motivated in Prologue

Antigone/Nurse/Haemon/Creon/Amelia/Bryce/Kendall/Ismene/Elijah: you both tend to drop off ends of lines, complete words and throw ends of sentences up 

Nurse: Follow the instinct to fix your dress, clean hair in your awkward response moments to Antigone--it was hilarious and we need more of it

All: Think about how you sit in the Juror's Box--tense, engaged, dismissive, where is your mask and how do you allow your bodies to sit?

Nurse: Use more of the platform upstage in scene with Antigone to keep distance and allow us to see both of your faces/masks

Nurse: Take on full posture and different vocal quality for when you're telling the Jocasta story of shaming the nurse on page 20-21

Antigone-find more opportunities to present your back mask, arms out/away from the body, more distance from everyone

Haemon-"Not to meet a lover?" Nurse's line, clear stand up, stand in neutral and exit

Maggie- We needs tons more volume, energy punching through, more dynamic

Bigger reactions when you hear rotting bodies

In Ismene monologue: Creon's chorus bigger hands in your marching, more menacing and militaristic in your movement page 24

Lucy- in Ismene monologue page 24 move further on stage as you're the only Antigone chorus member onstage now and very large reaction to the terror happening

When kneeling together, after that monologue-Ismeme/Antigone make sure you don't block each other, so angle off each other

Nurse and Antigone page 27, fully wrap yourself around her body so we can see front and back mask

Nurse: On the dog exchange--I loved your tense move away while sitting, can you find a spot to stand and walk away too?

Haemon-More youthful energy on your first entrance, you're the lover of the show and we need to feel that instantly

Haemon/Antigone--remember to stay angled, off each other shoulders, rather than standing directly face to face. When you don't this, you block each other

Haemon/Antigone: Antigone find more moments for back mask towards Haemon and Haemon react to that distance and try to find her front mask and make her look at you

Haemon/Antigone: Find a moment in sweet embrace where Haemon treasures the back mask and is kind towards it

Antigone: when explaining why you acted that way last night try using more back mask towards Haemon to open you up

Ismene-on 2nd entrance be more sleepwalker, distracted, terrified rather than low energy. drift slowly into the space with your entrance but your vocals should start immediately page 32

Creon- the instant you appear we must buy you are a KING

Guards--always play the clean precise comedy, the constant rotation rather than clumping up. The lines/diagonals are much funnier and easier to understand

Guard #1: Play the stalling game more on cross to Stage Right

Elijah: Must be clear...BURIED. you are the first one to mention this to Creon so we must hear it and understand it

Elijah: remember your props (SHOVEL!!)

Creon use your kingly posture wisely in the throne, watch out from bending and letting your shoulders collapse in due to your height--it loses your King status immediately

In reactions to the 3 guards, Creon you can use your back mask sometimes rather than turning attention to each guard

ALL: Chorus in the 2 page interlude after Creon/Guard scene---it must sound like one voice, so get rid of all those pauses---learn your cues, and really engage the audience--tell them the story! energize all movements--work in sync with your full chorus

Ismene's chorus page 38 you can tell the audience directly downstage by your hang out spot, include them

Creon and Antigone: "Don't annihilate me with those eyes"..wait for her to make the movement to motivate the line, be chilled by her eyes, Antigone--really stab back mask/arms at him


Creon: you must look through your giant scene with Antigone--find the nuance, tone, change of approach so your voice is less monotone. Use your tactics, make your chess moves and watch her responses

Page 45: Antigone show us how you feel about description and stories of your family

Page 45: All make blinding eyes section on back mask huge and deliberate

Creon & Antigone: you must keep us engaged and caring about these two characters. Antigone knows she will die, but she wants to be heard and respected. Creon must feel respect and order but that is threatened by the presence of Antigone.

Fix arm pull-work with Clara to fix this

***GUARDS--learn lines and your blocking:)

Creon's Chorus: move with purpose and dignity towards juror's box (represent the KING)

All chorus: Try vocalizing tomorrow to support Creon/Antigone scene--find rhythms and places to support the action

Whenever you move as a chorus--add vocals to it

Creon's chorus: Back mask and arms out and open on page 51 

DRIVE IT Creon!!!!

We will block page 54-55 with the family (Bryce, Kendall, Gwyneth, Andrew, Diego)

Haemon: walk further in and offer arms to meet Antigone during the "Happiness" section

Ismene/Antigone Chorus: page 59---make that bow and pull back huge and dance like..it needs to read 100% more

Chorus: during Haemon's scene with Creon make yourselves a clear barrier between them  and only allow Creon through

Haemon page 62 stress man on this line "Was that man you?" You have some great instincts for this scene, we just need to nuance your fear and anger more

Guards 2/3 find reason,timing to sit and turn back mask towards Antigone during the letter writing section

Chorus: Watch the guard scene and make yourselves the barrier/jail bars physically

Costume List Revision + Announcment

A few revisions from the last costume list have been made.  Please give the articles of clothing in a bag with your name on it to either your stage management team or your styling crew tomorrow (Monday).

Antigone-
-Black 3/4 leggings

Ismene-
-Black flats
-Black crop top

Page-
-Black dress pants
-Blue button down
-Black dress shoes

Messenger-
-Khakis
-Brown dress shoes
-Dark polo
-Brown belt

All ladies wearing skirts-
-Spandex

****All chorus members will be called for 15 minutes after rehearsal tomorrow to try on your chorus costume.  Thank you!

Chorus members called for costume fitting:
Zoe B
Kendall B
Grace Dills
Grace Dotson
Lucy G
Amelia L
Bryce S
Sofia S
Julia T

-OB

Costume List (reminder)

Please bring your clothing pieces if you have them to tomorrow's rehearsal and/or Friday's work call. Bring them in a paper or plastic bag with your full name and character name written on the front. And please keep your eyes open for clothing pieces for your fellow cast members and bring it in.  Thank you!

*Also, please note that if there is nothing listed underneath your character name on the costume list, the styling team does not have anything for you to bring in at the moment.

-Olivia Balkam

Costume List

Cast Costume List

Please bring your clothing pieces if you have them to tomorrow's rehearsal and/or Friday's tech call. Keep your eyes open for clothing pieces that you may have for your fellow cast members and bring them in as well.  Thank you!

Antigone: 

-Zoe Stuckless 

Nurse/Chorus: 

-Gwyneth Bushman 

Haemon: 

-Quinland Thompson 

Ismene: 

-Maggie Conroy

Creon: 

-Wolf Morgan-Steiner 

Crisp white shirt

Black Dress pants

white undershirt

skinny black tie

Nice black shoes

Eurydice/Chorus: 

-Sofia Vilches 

black flats

Guards/Chorus: 

-Aiden Sivers-Boyce

-Elijah Moon 

-Mattie Richardson 

Crisp white shirt

Black Dress pants

white undershirt

skinny black tie

nice black shoe

Messenger/Chorus: 

-Andrew Foran 

Page/Chorus: 

-Diego Millan 

crisp white shirt

White undershirt

Chorus:   

-Zoe Bennett 

-Kendall Berry 

 -Grace Dills 

-Grace Dotson

-Lucy Grissom

-Amelia Levine 

-Bryce Snyder 

-Sofia Solares

-Julia Taylor 

*Please note that if you do not have anything listed underneath your character name, the styling team does not have anything for you to bring in as of now.

Tech Calls - Week of 10/18

Here are the work calls this week, as we get this show ready to open:

-Wednesday, 10/21: No formal calls...as I get things ready to roll for the end run, I've decided to take the 21st and prep all of the things we need to get done.

-Thursday, 10/22 - 200pm to 500pm

-Friday, 10/23 - 900pm to 400pm

Be dressed to work and ready to get things done!  See you then...

j.

Schedule October 19-30

I apologize for some odd times but I want to honor the Conference dates (no school) and also I have some work training going late this week! 

Tuesday October 20th: All Called 3:30-5:30PM
Finish blocking  pages 39-43, pages 60-71

Wednesday October 21st: All Called  10:00AM-Noon
Finish blocking & review pages 39-43, Pages 60-71

Thursday October 22nd: All Called 11:30AM-1:30PM
Review all (Off book) 


Monday October 26th: All Called 3:30-6:00PM

Tuesday October 27th: All Called 3:30-6:00PM

Wednesday October 28th: All Called 3:30-6:00PM

Thursday October 29th All Called ***6:15-8:15PM

Friday October 30th: Please hold TBD for daytime rehearsal with No School Day

Reminder for the building/ tech call TODAY at 12-5pm!  ALL CALLED (unless you are participating in the Speech and Debate tournament).  See you there!

-Olivia

Rehearsal updates

Hello everyone! Thank you for your patience, commitment and fun at rehearsals.

Off book by next Wednesday (even scenes not yet blocked)

Check schedules for daytime rehearsals on Wednesday and Thursday and tell your awesome Stage Manager ASAP if they are an issue!



Thanks! Clara

Reminder for October 12-16

Monday October 12th:
3:30-5:30PM Antigone, Ismene, Haemon, Nurse Called Only

Tuesday October 13th:
4:00-6:00PM Antigone & Creon Only

Wednesday October 14th:
5:15-7:30PM Run All Blocked & Choreographed for Review (As Off Book as Possible!)
**If we have time Block 39-43 Antigone, 3 Guards, Creon, Page


Thursday October 15th
4:30-6:30PM ALL Called to Pick up any Blocking we have missed
Run Choral/Full Ensemble

thanks!! Clara

Work Call - 10/10

For those (SW)2 enthusiasts who enjoy getting their hands dirty, we're hosting our first work party of the year this Saturday, October 10th.  If you've a little time between 1200pm and 500pm, we'd love to have you...no experience necessary!

We'll be in the auditorium, so swing in through the stage entrance!

j.

No Rehearsal 10/5

 

Rehearsal Canceled 10/5 due to illness...spend the time well!

j.

 

Rehearsal Schedule October 5-9 & October 12-14

Hello!

I hope Ashland was a wonderful burst of creative energy and I can't wait to hear all your experiences.

We are missing a few of our key players this week so we will focus A LOT on Chorus work, chorus interactions in Scenes, and Creon and the Guards/Page.

Monday October 5th:
4:30-6:30PM   All Called --Finish Prologue, Work Interjection on Page 37-38, Work interactions in Antigone/Nurse, A/Ismene, A/Haemon scenes

Tuesday October 6th:
4:30-6:30PM  All Called--Continue work on Chorus within Play, Block Messenger Monologue, Chorus and Creon end Page 69-end

Wednesday October 7th:
4:00-5:00PM All Called--Run all Choral Chunks, Messenger Monologue,  Page 69-End
5:00-6:00PM Block Guards/Creon/Page Only Page 33-36


**Some changes may happen in this next week if we move quicker than anticipated with Blocking and filling in Antigone/Haemon--

Monday October 12th:
3:30-5:30PM Antigone, Ismene, Haemon, Nurse Called Only

Tuesday October 13th:
4:00-6:00PM Antigone & Creon Only

Wednesday October 14th:
5:15-7:30PM Run All Blocked & Choreographed for Review (As Off Book as Possible!)
**If we have time Block 39-43 Antigone, 3 Guards, Creon, Page

Thanks!! Clara

Below is the link for the rehearsal video from last week...please take a look at it at your earliest opportunity!

LINK

- j.

Rehearsals September 28-October 2

Monday-All called 4:00-6:00PM Blocking Prologue/Vocal Work

Tuesday- All called 5:30-7:00PM Blocking continued

Wednesday All called 5:30-7:00PM Blocking continued

**No rehearsal Thursday/Friday due to Ashland Trip

Thank you! If we make lots of progress I will be able to call less people Tuesday & Wednesday depending on our focus on Monday.

Remember---Water, scripts, bandanna a good option to wear under mask straps, good movement clothes. Scripts!

REHEARSALS!!!

Monday September 21st: 4:30-6:30PM
All called--Movement & Mask Work

Tuesday September 22nd: 4:30-6:30PM
All called--Movement & Mask Work

Wednesday September 23rd: 4:30-6:30PM
All Called--Movement & Vocal Work

Thursday September 24th: 4:30-6:30PM
All Called--Vocal Work--Character Work

Friday September 25th: 3:30-5:00PM
TBD (Based on our work throughout the week and progress)
Start Blocking or more Movement Work

**Please remember--Water bottles, good movement clothes, good movement shoes, scripts, knee pads if you think you need them on an individual basis

Thanks! Clara

Rehearsal on 9/18

Rehearsal cancelled for 9/18 due to a late-arriving schedule conflict outside Wilson...be ready to rock on Monday!

Greek Tragedy & Family trees!

Family tree as promised!

See many of you tomorrow for movement rehearsal 4:30-5:30pm Friday September 18th.
All others enjoy Homecoming, jobs and the Choir retreat!

Mask Photos!!

Just in case you didn't see them up close today and because they're fun to look at...

Here are two images from the production of Trojan Women I was in with Classic Greek Theatre of Oregon.

Demonstrating the Front Mask and Back Mask!

Rehearsal #1

Thank you everyone for a productive, insightful, exciting first day!

Remember we will reconvene Thursday afternoon September 17th.

I would like to run 4:00-6:00 on Thursday: we will continue the read through with some table work and then get up on our feet for some preliminary movement/mask work.

**Please start to think through the questions asked at rehearsal and your ideas of
-Mask face (Public vs. Private), images/symbols/colors/patterns you envision
-What Chorus you belong to? Antigone's team, Creon's team, Ismene's team, Haemon's team, Neutral...

Do some investigative work on the world of Thebes, Antigone, Creon, the history of Oedipus and come prepared with any textual/historical questions you may have for me or the group.

Thanks!! This was such a fun beginning and I'm thrilled to get started.
Clara

Cast List!!!

Below is the cast list for the (SW)2 Fall 2014 production of Antigone, by Jean Anouilh (after Sophocles).  Please initial the posting on the Callboard to acknowledge your role, pick up your script from Miller ASAP, and plan for rehearsal at 430pm tomorrow, 9/15.  Thanks so much to all of the amazing men and women who came out for the show and made this selection process among the most difficult in memory here at Wilson:

Antigone: 

-Zoe Stuckless 

Nurse/Chorus: 

-Gwyneth Bushman 

Haemon: 

-Quinland Thompson 

Ismene: 

-Maggie Conroy 

Creon: 

-Wolf Morgan-Steiner 

Eurydice/Chorus: 

-Sofia Vilches 

Guards/Chorus: 

-Aiden Sivers-Boyce 

-Elijah Moon 

-Mattie Richardson 

Messenger/Chorus: 

-Andrew Foran 

Page/Chorus: 

-Diego Millan 

Chorus:   

-Olivia Balkam 

-Zoe Bennett 

-Kendall Berry 

-Elena Braxton 

-Alexandra Cameron-Pizzo

-Grace Dills 

-Grace Dotson

-Lucy Grissom

-Amelia Levine 

-Bryce Snyder 

-Sofia Solares

-Julia Taylor 

Cast List Postponement

Congratulations to all of the fantastic young men and women who auditioned for our fall production of Anouilh's Antigone: you have made the casting of this show as difficult as any I can remember!

As of right now, director Clara Hillier is still working over casting details in order to get the very best production possible.  Here's what you need to know right now:

1) The cast list will be posted online tomorrow after the school day, and on the callboard first thing Tuesday morning.  (go to bed!)

2) Rehearsal has been pushed back to Tuesday at 345pm.  We'll have updated scheduling for the week at that point.

3) I'll be posting a Technical Lead sign up during the day tomorrow...technicians: be on the lookout.

Thanks for your patience, and all of your amazing work!

j.

Callbacks!

4:30-5:40pm (approximate end time).

Please come prepared to read more scenes, some monologue work.

Alexandra Cameron-Pizzo
Daniel Trusty 

Grace Dills 

Aiden Sivers-Boyce 

Grace Dotson 

Elena Braxton 

Sarah Pfeiffer

Eli Molloy 

Bryce Snyder 

Sofia Solares 

Amelia Levine 

Maggie Conroy 

Sophia Burton 

Kendall Barry 

Quinland Thompson 

Elijah Moon 

Wolf Morgan-Steiner 

Andrew Foran 

Diego Millan 

Sofia Vilches 

Gwyneth Bushman 

Zoe Stuckless 

Mattie Richardson

Thank you!! Clara 

Auditions!

Auditions begin for this fall production of Jean Anouilh's Antigone tomorrow (9/9)!

There are two days of general auditions: 9/9 @ 345pm and 9/10 @ 500pm...plan to attend one or the other (but not both!).  You'll have some cold readings, some movement activities, and some chorus work...nothing to prepare in advance! Callbacks will be this Friday starting at 345pm for those so needed.

Any other information about the acting process/audition process can be found in the audition packet, downloadable at the right.

Technical postings/positions will be addressed next week, though if there are a couple of people willing to assist with the running of the audition process, please contact me asap!

Let's make this first one amazing!

See ya there...

Welcome to the Blog!

This blog is your one-stop shop for information relating to the upcoming (SW)2 production of Anouilh's 'Antigone'.

To the right is the key information you'll need to audition for the production, downloadable to your own device.  The audition packet must be read and signed in order for you to participate in our audition process.  You may prepare for your audition by getting familiar with the script in advance...as a matter of fact, I highly recommend it!  There is a downloadable copy here on the blog, but I must remind everyone this is a script protected by copyright law: don't print it or post it online...use it on your device or check out a copy from the library if you require hard copy.

We're all looking forward to this production!  See you soon...

j.